THE BROWN TREE
"A constant communion with pictures, the tints of which are subdued by time, no doubt tends to unfit the eye for the enjoyment of freshness."
So wrote the wise Leslie in a chapter narrating certain passages of art talk between Constable and Sir George Beaumont, when the painter was visiting the amiable baronet at Cole-Orton. The modern world is a little amused by Sir George Beaumont—collector, connoisseur, and painter—who, in his own ripe person, precisely and accurately exemplified Constable's criticism of certain French artists. "They study (and they are very laborious students) pictures only." Sir George loved art, as he understood the term, and it was not his fault that he could not see eye to eye with the young vision of Constable. Quite content and happy was Sir George; he did not wish to change. Loved art? He had a passion for art. Did he not always carry with him upon his journeys Claude's picture of "Hagar"? In 1826 he presented "Hagar," which is now catalogued under the title of "Landscape with Figures," to the nation; but he felt so disconsolate without his adored picture that he begged to have it returned to him for his life-time. That was done, and on Sir George's death in 1828 his widow restored "Hagar" to the National Gallery. Study "Hagar," and you have the measure of the art predilections of Sir George Beaumont, collector, connoisseur, painter, patron, and friend of John Constable, and author of the famous question, "Do you find it very difficult to determine where to place your brown tree?"
Constable's answer is recorded. "Not in the least, for I never put such a thing into a picture."
Sir George did. Observing the brown tree sprawling in the formal and academic pictures he prized and copied, he reproduced it laboriously in his own works. Apparently it never occurred to him that those brown trees may once have been green.
"Sir George," says Leslie, "seemed to consider the autumnal tints necessary, at least to some part of a landscape." And Leslie is the authority for two oft-told stories about Gaspar Poussin and about the Cremona fiddle.
PLATE III.—THE CORNFIELD, OR COUNTRY LANE.
National Gallery.